Latest ‘Judevine’ remains compelling

By Jim Lowe Staff Writer

Even if you have already seen David Budbill’s “Judevine,” you haven’t seen what it has become in the new Lost Nation Theater production.

For each time the Wolcott poet’s gritty Vermont drama is produced, it evolves into another — no more or less compelling — play.

Lost Nation Theater recently brought the production to Rutland’s Paramount Theatre and to Middlebury Town Hall Theatre.

Lost Nation’s production is its second in two years, and this year’s is noticeably different from last year’s. But it is important that this evolution has come about entirely with Budbill’s collaboration.

Fortunately, characters such as the witty and optimistic logger Antoine, who still carries much of the story, remain. Tommy, the hurting Vietnam vet still hooks up with Grace, the well-meaning mother who can’t seem to make anything work. And the story of the elderly Raymond and Ann, whose love lasts forever, is just as heartwarming as ever.

In fact, virtually all of Budbill’s original characters remain in the mythical Northeast Kingdom town of Judevine. But by using different parts of the “Judevine” poems, we see a different side of some of these characters, often a bawdier, rowdier and more realistic side.

Directed by Kim Bent, Lost Nation Theater’s founder, this production’s excellent cast also generated a different flavor through its unique interpretations of the characters at the Sept. 18 preview performance.

Not all the changes enhanced the play. Some of the ritualistic unison chanting was hard to understand and of little or no dramatic value. There was also occasional silliness — as opposed to the real humor that can be found in this hardscrabble existence — that cuts into the work’s dramatic effectiveness. Still, the Lost Nation production tells the Judevine story in a truly compelling way.

The story of Judevine is told largely by the characters of the flatlander poet David — Budbill, of course — and the colorful Antoine in a series of vignettes. This town that is so poor that those who are living in it aren’t quite aware of the fact. There’s also plenty of humor, mainly people laughing at themselves.

The characters are very real and mostly very dimensional, and that is where this theater piece finds its substantial power.

Asher Nicholson makes for a realistic, down-to-earth David, but then successfully morphs into the troubled Tommy, delivering both characters with depth. Ben Ash’s Antoine, save for a little too much slapstick, delivers a convincing portrayal of this fascinating character, particularly when Antoine is forced to face the crises in his life.

Abby Paige delivers a powerful performance as Grace, a poverty-burdened single mother who loves and cares and gets nowhere. Mark Roberts, too, gives a strong performance as Doug, whose unhappiness with his own life turns him into a bigot.

Bridget Butler and Robert Nuner are most attractive as the elderly Raymond and Ann, but manage myriad characters with similar skill. In general, excepting some moments of overacting, the performances were fine throughout.

The physical production was simple, attractive and effective. Bent’s staging included a few platforms and a pastoral backdrop of Vermont mountains by Donna Stafford. Roberts, one of the actors, created the “Jude-a-Phone,” a complex metal sculpture that is also a welding shop and a musical percussion instrument. (It has to be seen — and heard — to be believed.) Simple costumes by Cora Fauser and effectively dramatic lighting round out the picture.

“Judevine,” in Lost Nation Theater’s new production, remains a colorful and authentic part of Vermont.